00:00Well, I mean, obviously, as a writer, you've got a very different sort of toolkit to work with in terms
00:07of Cabin 10 is a first person book.
00:10So we're entirely inside Lowe's perspective the whole time. We see the world through her eyes.
00:16We only know what she perceives and tells us. And so in some ways, I never saw her as an
00:24unreliable narrator.
00:25Other people in the narrative perceive her as unreliable and try to persuade us that she is unreliable.
00:31But actually, when you get down to it, everything that she sees and tells you as a narrator is the
00:37truth.
00:38So I think for the film to sort of come down more on the side of her as a sort
00:45of a quote unquote reliable narrator is partly it's, you know, it's true to the sort of spirit of the
00:53book, which is that Lowe is actually very reliable.
00:55But also from the point of view of craft, you know, a film is an external thing.
01:02We, the viewer, know what we have seen. We're not seeing it through Lowe's perspective the way we are in
01:07the book.
01:08So there in a way, it's not as easy to portray an unreliable narrator in film full stop.
01:15But yeah, I was, I, I don't, I slightly quibble with people who describe Lowe as an unreliable narrator.
01:20I give people in the book lots of reasons to doubt her.
01:23But fundamentally, what I was trying to get at was to say to the reader, why are you doubting this
01:29woman's word when what she tells you is the truth?
01:31Well, I think she's, she'd be believable in, in, in, in either version, because, you know, you can never, you
01:40can never blame someone for what they've just consumed or their mental history for, for, for, for not believing.
01:50I don't think, I think we should believe people regardless of, of what level a psychiatrist would put them on
01:57in terms of mental health.
01:59But, but I think that I wasn't interested that, you know, the genre is replete with examples of unreliable narrators
02:11or unreliable protagonists in this particular case.
02:14And I, I, I feel as if that, that wasn't the kind of particular niche that we could fulfill with
02:22this.
02:22I think it was an opportunity to make it about conspiracy, about the outrage of fighting against corruption.
02:32I think it's less interesting because an audience has already experienced a lot of gaslighting stories.
02:37It's less interesting for them to find out whether she's mad or not.
02:41I think it's much more interesting given that the coup of the twist is such that it really is impressive
02:47when you find out what actually happened, that it's actually much more fun to get the audience to go, I
02:55need to find out what happened so that I can agree with her because she seems incredibly convincing.
03:01And I don't know what's going on, just like she doesn't know what's going on right now, but it makes
03:07it a much more heroic story.
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